I aim to create furniture that appears in a room as buildings on a skyline and reminds the viewer of the interaction between objects of design and architectural space.
There must be an open space in the paintings - an entry space for the viewer, or even for me. Just white space where you can get into it.
You tell the big lie by carefully selecting only the small, isolated truths, linking them in such a way that that advance the bigger lie by painting a picture inside the viewer's head. The Ascended High Master of this Dark Art is Noam Chomsky.
To understand this whole area, you have to stop thinking like a viewer and start thinking like a network programming exec.
The job of the director is to suggest two plus two. Let the viewer say four.
We have a thriving subculture of 'independent' American movies that makes an impact on America as a whole roughly equivalent to that of a the modern literary novel. These are the films sincere viewers marry, whereas, once upon a time, movies were a lifetime of one night stands.
In the United States, viewers don't get to see a lot of things we can show in other countries. We didn't get to show our naked Twister game from Wild On Jamaica, but we definitely filmed it.
In our show you have to pay attention and know what happened before. I think it's very intelligent entertainment. It makes demands of viewers that a lot of shows don't.
But with 9/11, we found that people tended to come back to the networks and the people who had been our core viewers in the past came back and they have stayed with us.
We've had a chance to be seen by viewers who had never seen us before, and we've kept a lot of them.
I tell my staff, we're riding a tour bus around, and we're going to stop and look at some weird stuff - but we're taking our viewers around safely. They're just looking out the window at it. I'm trying to create a sense of comfort for my center audience.
I like the idea of the painting looking at the viewer than the other way around.
Art is the space between the viewer and the rectangle that hangs on the wall. Unless something of the person that created the work is there, there's nothing for the viewer to take away.
I understand that in the UK there have already been 10,000 complaints from viewers about these remarks, which people see, rightly, as offensive. I want Britain to be seen as a country of fairness and tolerance. Anything detracting from this I condemn.
When you go to commercial, you want something to call the viewers back, and if you don't have a decent act out, the audience probably won't be there in the numbers you want when the show returns.
Hurricane Irene ... the storm was huge news. In fact, the Weather Channel reported something they haven't seen in years. Viewers.
Sculpture is a series of 3-dimensional shapes which, while fitting together, cause the perception of lines to the viewer, even where they do not exist.
The question of painting is bound up with epistemology, with the engagement of the viewer, with what the viewer may learn.
Successful prime-time television of any genre produces some kind of emotional reaction in the viewers. There are a lot of different emotions to tap into. The emotion of the reward of discovery, the feeling of righteous anger, the feelings of pathos and sadness, or sentimentality of being moved by something.
I'm a Freddie Mercury fan. (In response to an interviewer backstage at a Queen concert at the LA Forum, who asked: Can I tell my viewers that Michael Jackson is a Queen fan?
Here's a viewer's guide to BP media briefings. Whenever you hear someone with a British accent talking about this on behalf of British Petroleum they are not telling you the truth. That's the bottom-line.
Are we all not, when we sit in the cinema, in the position of humans in The Matrix, tied to chairs, immersed in the spectacle run by a machine? However, a more appropriate allegory is that of the viewer himself: beneath the illusion that we "just look" at the perceived objects from a safe distance, freely sliding along them, there is the reality of the innumerable ties that bind us to what we perceive.
But to demand that a work be “relatable” expresses a different expectation: that the work itself be somehow accommodating to, or reflective of, the experience of the reader or viewer. The reader or viewer remains passive in the face of the book or movie or play: she expects the work to be done for her. If the concept of identification suggested that an individual experiences a work as a mirror in which he might recognize himself, the notion of relatability implies that the work in question serves like a selfie: a flattering confirmation of an individual's solipsism.
The artist's role is to invent rhythms and forms to reveal a deeper apprehension of reality for the viewer.
I try to surround myself with a good support system. Whether that's other creators or my family or my friends, or even my viewers, who encourage me just as much as I might encourage them and they're just as much a part of my life as they let me be a part of theirs.
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